The piece is entitled tsuki no mon ni: yurei no mori
Conceptually, what I want to create is a multi-faceted installation, representing simultaneously a classical asian architectural aspect (the moon gate), a collected and recycled resource (dead buttonwood and other pieces of misc. native trees), and interactivity. The “moon gate” uses circular geometry to create both positive and negative space simultaneously: the gate itself, being a circular structure, and the opening in the gate through which the world is seen and the visitor may pass. The material-- as previously noted: a large collection of buttonwood pieces and other trees native to the keys-- will be agglutinated over a steel hoop which will comprise the frame; successive layers of wood-- tied, glued, and/or screwed to the frame and each other-- will create a structure that will seem braided or vaguely rope-like in texture and appearance.
It is the interactivity of the piece, however, that is perhaps its most important feature: an embedded lectern will house a detailed explanation of what is intended for the piece, a “guest-book” for visitors to leave their name and contact information so the studio can provide them with links to view the installation’s denoument, and a collection of pens and markers so that visitors can exercise what will be the principal focus of the interactivity aspect: to leave messages to loved ones they have lost, either through death or separation, so that they can share these messages with all the other people who visit the piece. Additionally, there will be a small collection of sticks on hand for people to add to the installation however they see fit, so that the piece will be evolutionary in two ways: the incremental addition of the written word, and the incremental addition of sculptural material.
At the end of the program, Sunday, 18th april, 2010, with the permission and cooperation of the park service, we will burn tsuki no mon ni: yurei no moni, whilst simultaneously recording the event on video for later editing and publication on the internet, and, if SKW so desires, a link to the video as well. Part of the soundtrack will include a narrator reading random messages that have been written on the piece. All video taping and editing will be conducted through jonathanschork films.
The installation job stream is as follows:
1. Auger 2 holes in the earth, approximately 14’ apart; install and concrete 2 pieces of 3” steel pipe to a height of approximately 7’ above grade; attach a fabricated steel hoop approximately 16’ in diameter to the steel verticals, fastening the hoop at grade with an additional concrete inclusion. Bringing in a trailer load of assembled wood at a time, construction will commence from the base to the apex of the hoop until all pieces of steel armature are concealed. Housed in one side, attached to a vertical support, will be a fabricated plywood lectern for installation of the guest book and writing material. An additional pile of small wood will be left on the opposite side for visitors to add to the sculpture. For installation at the apex, which will be approximately 16’ above grade, both scaffolding and the schork~munsell studio’s boom truck will be utilized, thereby maximizing our ability to complete the structure and minimizing the risk of personal injury or damage to the piece.
Because there is an element of fire involved in this project, it will be necessary to consult closely with the park service for proper siting. Alternatively, if the park service declines us permission to burn the installation, we will remove it to another location-- probably the studio on big torch key-- and commence burning. Assuming a burn at the park, all metal armature and any other noncombustible debris will be removed by 24th april, 2010.
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It was an emotional moment when I realized all that Jonathon Schork's eyecatching gigantic structure, of what apperard to be a circle wooden sticks from a distance, was there to do. Nothing ever is only what it first appears to be.
ReplyDeleteFirst, I was struck by the immense size, uniformity and natural beauty of the circle, then as I read the instructions and comments, at the nearby wooden podium, my eyes began to swell with tears. You see, last year, I lost my twin brother to pancreatic and liver cancer, a mere 2 months after his unbelievable diagnosis. It was here in Key West, that we had spent a long overdue few days together just the year before. I asked him to come to the Keys, and surprsingly, for someone who was always busy, he said yes, and he and his wife, Georgia made the trip. I have a photo of him, on a sunset sailboat ride, looking upward into the sky, with the wind blowing wildly in his hair, looking relaxed and happy. He loved riding his Harley, loved speed, and his family. He always wanted to feel the wind in his face, ever since we were little kids riding our bikes through the neighborhood. The wind was a sense of freedom for him. Now, here, was my chance to acknowledge his love of that freedom, of life and his spirit of adventure.
On Friday, February 5th, I stopped by the Sculpture Exhibit again, and to my pleasure, I saw Jonathon there adding to his work of art. It is an ongoing process, as is life, of loving, living, losing, remembering, changing, and emerging. He took some time to talk with visitors, take a photo upon request, and to share. I was again, struck emotionally when he pointed out a wrangled interwoven stick, with a message from a father to daughter. I saw and felt his intense compassion and his caring heart which made me even more appreciative that I had inscribed to my brother, "To Nick, May you always feel the wind in your face", love Kathy and Glenn.
Thank you Jonathon for giving us a chance to remember and to celebrate those that have touched our lives.
Katharina